“Grachan Moncur III Evolution Big Band” is a presentation of The American JazzInstitute, Claremont McKenna College Oral History Project and the Gould Centerfor Humanistic Studies.

Grachan Moncur III, Dewey Redman and AndrewCyrille headline CMC Spring concerts; AJI releasesMoncur and Porgy & Bess CDs

AmJazzIn TM

The American Jazz Institute Newsletter

Spring 2005 • Volume 13

THE GOALS OF AJI

• To advance and promote jazz music throughout the world.

• To maintain a repertory jazz orchestra to perform new and archival jazz music.

• To educate and expose the public to jazz by live performances and panel discussions.

• To physically house, archive and preserve jazz music: compositions, scores, arrangements, recordings, artwork, photographs, films and otherjazz works.

• To seek and attract donations of jazz works with an emphasis on original compositions, scores, arrangements and recordings.

• To make jazz works available for research, study and education.

• To support charitable endeavors that promote and advance jazz music.

Board of Directors

Mark A. Masters, PresidentAudree Coke Kenton

Ronald TeeplesRichard Douglas Brew, Esq.

Advisory Board

Ray DrummondScott EvansGary FosterReed GratzBilly HarperJohn LaPorta (1920-2004)

The American Jazz Institute is a tax-exemptnon-profit organization pursuant to I.R.C.Section 501(c)(3). Contributions to the AJIare tax deductible.

Please see page 6 for information or contact us:PO Box 5716, Pasadena, CA 91117Phone: 626-795-6413Fax: 626-795-6493E-mail: AmJazzInm@sbcglobal.net Website: www.amjazzin.com

Our seventh season of concerts at Claremont McKenna College will be memorable!AJI is pleased to present the much-anticipated premier of the Grachan Moncur IIIEvolution Big Band on February 26, followed by peerless saxophonist Dewey Redmanon March 3 and acclaimed drummer Andrew Cyrille on April 4.

AJI’s deep commitment to record today’s great jazz artists in performances ofimportant original compositions and historically significant new arrangements continueswith the release of two Capri records: Exploration by the Grachan Moncur III Octetand Porgy & Bess...Redefined! by the Mark Masters Ensemble. Details in this issue.

AJI is now on the web at

www.amjazzin.com

Trombone master Grachan Moncur III is truly a livinglegend. He created some of the most brilliant post-bop/free-bop jazz of the early 1960s. Moncur playedwith Ray Charles as well as the famed Art Farmer-Benny Golson Jazztet. He recorded two highly influentialalbums as a leader for Blue Note Records: Evolution withJackie McLean and Lee Morgan, and Some Other Stuffwith Herbie Hancock, Wayne Shorter and Tony Williams.

The return of Grachan Moncur III has been avery long time coming -- and what a stellar occasion itis! Jazz lore includes many tales of disappearances andtriumphant returns. While Moncur never completelyleft the music scene, he has been out of the limelight for

Nat HentoffLee Konitz

Gene LeesMort Sahl

Alan P. Schultz

Grachan Moncur III Evolution Big BandThe premier performance of Moncur’s 12-piece Evolution Big Band featuringTim Hagans, trumpet, Bennie Maupin, tenor sax, and Peter Erskine, drums

Saturday, February 26, 8:00pm • Admission FreePickford Auditorium, CMC campus, Claremont

the past two decades. This concert will draw on the rich body of compositional workfrom his 40-year career. Each member of the ensemble will use the orchestralframework as a means to express their own individuality, creating a brilliant settingwhere all the singular voices become one, unified by the imposing figure that isGrachan Moncur III -- the renowned musician who brought the trombone into the“new thing” over four decades ago. This will be Moncur’s first visit to the West Coast.

AJI Members are invited to meet-the-musicians reception after concert. See page 7.

Dewey Redman is one of the most adventurous tenor saxophonists of our time.DownBeat magazine calls him “the greatest living tenor saxophonist.”

Born in Texas in 1931, Redman took up the clarinet at 13 but switched toalto sax to play in his high school marching band with buddy Ornette Coleman.After getting a Masters Degree in Education, he moved to San Francisco, taught inpublic schools -- and freelanced as a tenor saxophonist with the likes of PharoahSanders and Wes Montgomery. In 1967, he moved to New York and formed a closemusical association with his friend Ornette Coleman that lasted until 1974. During thistime, while on tour with Coleman’s avant garde quartet, Redman recorded Tarik (1969).

After Coleman, Redman joined Keith Jarrett’s quintet where his versatilitybrought a unique quality to the group. There were frequent recordings during thisperiod that led to even greater exposure. Albums with Charlie Haden, Carla Bley,Don Cherry, Roswell Rudd and Leroy Jenkins were the result. During the mid-1970s,Redman had the opportunity to record several albums as a leader. Two albums forthe impulse! label, Ear of the Behearer (1973) and Coincide (1974) are classics. Musics(1978) and Sound Sign (1978) were recorded for the Galaxy label. His most recentrecording, In London (1996), finds him in top form.

Dewey Redman is a consummate artist in his prime. His message is clear, masterful and dynamic.

The New York Times calls Andrew Cyrille “a consummate moderndrummer.” AJI is pleased to welcome him to CMC.

Born in Brooklyn in 1939, Cyrille studied with Philly Joe Jonesand spent the first half of the 1960s studying in New York at Juilliardand the Hartnett School of Music. At the same time, he was performingwith famed jazz artists that included Mary Lou Williams, ColemanHawkins, Illinois Jacquet, Kenny Dorham, Freddie Hubbard, WaltDickerson and Rashaan Roland Kirk. In 1964, he formed what wouldprove to be an 11-year association with Cecil Taylor that brought himnew acclaim and established him in the vanguard of jazz drumming.

Starting in 1969, Cyrille played in a number of percussiongroups with notable drummers including Kenny Clarke and RashiedAli. He formed his own group Maono in 1975 and has also workedwith such top-flight peers as David Murray, Muhal Richard Abrams,Mal Waldron, Horace Tapscott, James Newton and Oliver Lake.

Joining Andrew Cyrille for this special concert is a stellar octetof East Coast and West Coast artists that includes master bassist RayDrummond, CMC Class of ‘68.

An Evening with Dewey RedmanThe Dewey Redman Septet featuring Tim Hagans, trumpet,

Dave Woodley, trombone, Danny House, alto sax,Cecilia Coleman, piano, Darek Oles, bass, and Joe LaBarbera, drums

in a performance of standards and original Redman compositions

Thursday, March 3, 6:45pm • Admission FreeCook Athenaeum, CMC campus, Claremont

Andrew Cyrille Plays MonkThe Andrew Cyrille Octet featuring Gary Foster, alto sax,

Billy Harper, tenor sax, Gary Smulyan, baritone sax,Dave Woodley, trombone, and Ray Drummond, bass

in a performance of compositions by Thelonious Monk

Monday, April 4, 6:45pm • Admission FreeCook Athenaeum, CMC campus, Claremont

“An Evening with Dewey Redman” and “Andrew Cyrille Plays Monk” are presentations of The American Jazz Institute, ClaremontMcKenna College Oral History Project, Gould Center for Humanistic Studies and the Marian Minor Cook Athenaeum.

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Andrew Cyrille

Dewey Redman

AJI concert venues are located on the campus of Claremont McKenna College in the Southern California community of Claremont, an hour east of Los Angeles just off the 10 or 210 freeways.

Marian Minor Cook Athenaeumis at 385 East 8th Street. Adjacent street parking.

Pickford Auditoriumis in Bauer Center, South Building, at 500 East 9th Street. Parking lots on north and east sides.

For further information, please call the AJI at 626-795-6413.

AJI & Capri Records presentPORGY & BESS...REDEFINED!

The Mark Masters EnsembleArranged and Conducted by Mark Masters

Saxophones Billy Harper (tenor), John Riley (tenor & bassoon), Don Shelton (tenor, soprano & alto flute),Gary Smulyan (baritone)

Trombones Dave Woodley, Les BenedictTrumpets Tim Hagans, Tom Delibero, Louis Fasman, Les LovittFrench Horn Stephanie O’KeefeTuba Bill RoperBass Clarinet Bob Carr, Greg HuckinsRhythm Cecilia Coleman (piano), Ray Drummond (bass),

Joe LaBarbera (drums)

From the liner notes by Ed Berger, Institute of Jazz Studies, Rutgers University:

Porgy and Bess was Gershwin’s longest and most ambitious work as well as his personal favorite. Despite its popularity, however, the folk opera was not withoutits critics for its often stereotypical depiction of African-American life... Questionsof authenticity aside, the rich and varied musical content of the work has attractedjazz artists of all eras and styles. Within a year of its completion in 1935, BillieHoliday had already put her stamp on Summertime...

Jazz arrangers have found the epic folk opera’s thematic material fertileground for embellishment and reinvention, among them Ralph Burns, MundellLowe, Bill Potts and Bob Haggart. The most celebrated interpretation, of course,came in 1959 when Gil Evans teamed with Miles Davis to produce one of jazz’slandmark recordings.

When confronting a work as celebrated as Porgy and Bess, an arranger mustwalk a fine line between creating something new and fresh and preserving the harmonic and melodic essence that made the work so attractive in the first place.Slavish adherence to Gershwin’s every compositional nuance may result in yetanother pleasant but routine “jazzed-up” interpretation. On the other hand, a totaltransformation of the work may produce a new creation of great interest, but onewhich has little or nothing to do with Porgy and Bess.

Mark Masters has succeeded admirably in bringing his own concept to thesefamiliar pieces. “I had a vision of a more adventurous approach both harmonicallyand from the soloists,” he explains. “Porgy and Bess is intrinsically more interestingto jazz arrangers than many other great shows. It’s harmonically stimulating, andthere aren’t a lot of traditional forms in it. The whole thing unfolds so beautifullythat it’s just begging to be played on!”

As in previous projects, Masters’ “in and out” approach re-casts the musicwhile retaining its substance. He used the original vocal score which has no chordchanges, freeing him to some extent harmonically. “I started with no preconceivednotions,” the arranger says. “I only knew I wanted Tim [Hagans] and Billy[Harper] out front.” While giving the soloists great latitude and often “pushing theenvelope” in his writing, Masters makes sure that Gershwin’s original melodies arenever obscured by the setting, noting, “Every tune has a life of its own and you needto be respectful of that and to give the listener something to hang on to.” Many of thesemelodies take on new life, highlighted in performances that often assume the characterof miniature suites with varied tempos, moods and distinct orchestral sections.

Masters’ efforts are aided immeasurably by an ensemble of superb musicianswho not only play the notes but convey the spirit. “In this kind of orchestral setting, everyone has to buy in to your concept,” he says. They clearly did just that,both in skillfully interpreting a demanding score and in creating solos that not onlystand on their own but are at one with the arrangements.

Save a few bucks and order PORGY & BESS...REDEFINED! direct from AJI for only $14See our AJI Record Store on page 5

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Gary Smulyan

Ray Drummond

Billy Harper

Tim Hagans

AJI & Capri Records presentEXPLORATION

Grachan Moncur III OctetArranged and Conducted by Mark Masters

Saxophones Billy Harper (tenor), Gary Bartz (alto), Gary Smulyan (baritone)Trombones Grachan Moncur III, Dave WoodleyTrumpet Tim HagansFrench Horn John ClarkRhythm Ray Drummond (bass), Andrew Cyrille (drums)

From the liner notes by Ed Berger, Institute of Jazz Studies, Rutgers University:

This recording marks the welcome return of one of the most original and distinctivevoices of the early 1960s, a turbulent and exciting time in jazz... While GrachanMoncur III never completely left the musical scene, he certainly has been out ofthe limelight for the past two decades.

Born in 1937, the trombonist was raised in Newark, NJ, where he stilllives. His father, bassist Grachan “Brother” Moncur, and his uncle, saxophonist AlCooper, were stalwarts of the swing era... In 1958, he joined Ray Charles’ orchestraand the next year moved on to the Jazztet of Art Farmer and Benny Golson...

Moncur’s playing coalesced during this period. Originally influenced byBennie Green, Frank Rosolino, Bill Harris and Trummy Young, the trombonistnow was inspired primarily by J.J. Johnson. Moncur has always had his ownapproach to the instrument, however, combining a full, expressive, often plaintivetone with a measured and thoughtful concept of improvisation.

After the Jazztet disbanded in 1962, Moncur freelanced with such upcomingjazz stars as Jackie McLean, Herbie Hancock, Tony Williams and Bobby Hutcherson,leading to his celebrated Blue Note Records association. Moncur’s two classicalbums as a leader for the label (Evolution and Some Other Stuff), as well as his manyappearances as a sideman, established him as an upcoming star, both as soloist andcomposer. ...in the late 1960s he found himself drawn more and more into “free jazz”or “avant-garde” settings, including many collaborations with Archie Shepp. His ownalbums from this period, New Africa (1969, BYG) and Echoes of Prayer (1974,JCOA) reflect his awareness of the “new music” as well as his growing spirituality...

Mark Masters, who specializes in bringing to the fore the music of manydeserving but overlooked artists, had long admired Moncur’s Blue Note oeuvre.Masters contacted the trombonist and the project was born. Moncur was somewhatapprehensive at first. He had recorded only once in the last decade, and it had been30 years since his last album as a leader. “I was impressed with what I heard ofMark’s previous projects,” Moncur says, “and I felt blessed that someone thoughtenough of my music to undertake this. But we had never met in person until therehearsal the day before the session, and I really didn’t know what to expect.” Hisfears were somewhat allayed by the presence of old friends Gary Bartz and AndrewCyrille. As things got underway, Moncur was buoyed by the enthusiasm of all the players;“they showed such respect for the music and for me personally that it set me at ease.” ...

Masters meticulously reconstructed the music from lead sheets and scoreshe obtained from Moncur. Masters emphasizes that he was in no way attemptinga re-creation: “I try to do something completely different from the recordings whileretaining the overall structure of the tunes.” ...

Moncur’s compositions have a singular “in” and “out” quality reflecting hisown varied musical experiences. ...Moncur’s pieces, like those of Thelonious Monkwhom he greatly admired, always have interesting twists and turns which make themdistinctive yet accessible. “The great thing about his music is its spaciousness,”observes Masters. “It may seem deceptively simple, but when you put the melody andchanges together, each piece has a life of its own. You can’t take a formulaic approach.”

Save a few bucks and order EXPLORATION direct from AJI for only $14See our AJI Record Store on page 5

Grachan Moncur III

Gary Bartz andBilly Harper

Mark Mastersand

Ray Drummond

John Clark, Tim Hagans, Grachan Moncur

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Please make you personal check payable to “The American Jazz Institute.”Mail to The American Jazz Institute, PO Box 5716, Pasadena, CA 91117

The AJI Record Store

One Day with Lee: Lee Konitz with The Mark Masters EnsembleThe elder statesman of the alto in a stellar performance of his own compositions arranged by Mark Masters. Featuring Bill Perkinsin a final recording, Gary Foster, Jack Montrose, Dave Woodley, Bob Enevoldsen, Steve Huffsteter, Ron Stout, Cecilia Coleman,Putter Smith and Kendall Kay.The Clifford Brown Project: The Mark Masters Ensemble featuring Tim HagansA critically-acclaimed tribute to the legendary trumpet player, with Brown’s solos played by a stellar trumpet quartet supportingthe brilliant improvisations of Tim Hagans. Arranged by Mark Masters and Jack Montrose. Also featuring Jack Montrose, GarySmulyan, Dave Woodley, Cecilia Coleman, Putter Smith and Joe LaBarbera.The Jimmy Knepper Songbook: Jimmy Knepper with the Mark Masters Jazz OrchestraThe classic recording of a singular voice on the trombone, performing his own compositions arranged for the big band by MarkMasters. Featuring Gary Foster, Johnny Coles and Ralph Penland.Priestess: Billy Harper with The Mark Masters Jazz Orchestra featuring Jimmy KnepperAn adventurous big band interpretation of Coltrane, Corea, Strayhorn and Billy Harper compositions arranged by Mark Masters.

Exploration: Grachan Moncur III OctetThe preeminent post-bop/free-bop jazz trombonistof the early ‘60s returns in a brilliant performanceof his own compositions arranged by Mark Mastersfor a stellar octet of Tim Hagans, Gary Bartz, BillyHarper, Andrew Cyrille, Ray Drummond, DaveWoodley, Gary Smulyan and John Clark. One earlyreviewer says of it: “All in all, this is a fine record.Bristling with intelligence, good humor and swing,Moncur’s music stands the test of time ... nice to seehim back.”

Porgy & Bess...Redefined!: The Mark Masters EnsembleJUST RELEASED! The most famous of all folk operas receives a newlydefinitive presentation in these adventurous arrangements by Mark Masters,performed by an ensemble of superb musicians featuring Billy Harper, TimHagans, Gary Smulyan, Dave Woodley, Ray Drummond, Joe LaBarberaand Cecilia Coleman. In his liner notes, Ed Berger says that “while givingthe soloists great latitude and often ‘pushing the envelope’ in his writing,Masters makes sure that Gershwin’s original melodies are never obscured by the setting ... many of these melodies take on new life, highlighted in performances that often assume the character of miniature suites.”

New from AJI

and Capri Records!

2 important new AJI recordings! Early reviews on page 7. Order direct and save a few bucks!

Exploration ___ x $14.00 _______Porgy & Bess...Redefined! ___ x $14.00 _______One Day with Lee ___ x $14.00 _______The Clifford Brown Project ___ x $14.00 _______The Jimmy Knepper Songbook ___ x $14.00 _______Priestess ___ x $14.00 _______

Join at the Patron or Artistry Circle level

and take your choice of AJI’s newest CDs:

1 CD for Patron members

2 CDs for Artistry Circle members

The American Jazz Institute invites your membership

Supporting jazz is what The American Jazz Institute is all about. We need your support to continue presenting outstanding jazzprograms such as The Kenton Era festival in 1997, California Cool festival in 1998, Kenton’s West Side Story concert in 1999,The Ellington Effect concert in 2000, Kenton Sound concerts in 1998, 1999 and 2000, and the unique series of concerts jointlypresented with Claremont McKenna College.

Your tax deductible annual membership in any amount comes with the deep appreciation of AJI and the jazz artists thatperform for your enjoyment. We hope you’ll consider the special benefits of Patron and Artistry Circle membership levels.

AJI Artistry Circle$75 Annual Membership

• AmJazzIn newsletter: AJI news and schedules of upcomingconcerts and special events

• Choice of 2 AJI CDs

• Invitations to special “meet themusicians” after-concert receptions

AJI Patron$50 Annual Membership

• AmJazzIn newsletter: AJI news and schedules of upcomingconcerts and special events

• Choice of 1 AJI CD

• Invitations to special “meet themusicians” after-concert receptions

AJI Member$25 Annual Membership

• AmJazzIn newsletter: AJI news and schedules of upcomingconcerts and special events

• Souvenir AJI coffee mug

• Invitations to special “meet themusicians” after-concert receptions

The American Jazz Institute is a non-profit organization dedicated solely to theenrichment and enhancement of the appreciation of jazz music. From its humblebeginning in New Orleans at the turn of the century, jazz evolved into one ofAmerica’s enduring world contributions, a “universal language” understood by all.

Continuing in this spirit, AJI seeks to preserve this national treasure as wellas expand upon it by spotlighting America’s great jazz composers, arrangers andmusicians -- both firmly established and newly discovered, and from traditional toavant garde.

Name ______________________________ Address ________________________________ Phone __________________

City _______________________ State ____ Zip _________ E-Mail _____________________ Fax __________________

❑ New ❑ Renewal Annual membership level: ❑ Artistry Circle ($75) ❑ Patron ($50) ❑ Member ($25)

Artistry Circle members, choose 2 CDs; Patron members, choose 1 CD:❑ The Clifford Brown Project ❑ One Day with Lee ❑ Exploration ❑ Porgy & Bess...Redefined!

Please make your personal check payable to “The American Jazz Institute.”Mail to The American Jazz Institute, PO Box 5716, Pasadena, CA 91117

For further information, phone the AJI office at 626-795-6413

“One Day with Lee”

Lee Konitz & Mark Masters Ensemble

“The Clifford Brown Project”

Mark Masters Ensemble

“Porgy & Bess... Redefined”

Mark Masters Ensemble

“Exploration”

Grachan Moncur III Octet

PLEASE PRINT

AJI is now on the web!

We’re building a valuable

resource for jazz enthusiasts at

www.amjazzin.com

* Concerts and events schedule

* Oral histories * Photo gallery

* And, of course - THE MUSIC!

Trombonist and composer GrachanMoncur III made a memorable impactforty years ago with his challenging compositions and austere improvisingstyle. He then maintained a very lowprofile for decades, teaching, recordingonly rarely... Now he’s made a welcomereturn to recording with the absolutelystunning CD “Exploration.”

In the 1960s, Moncur’s trombone style was notable for breakingaway from the then-prevalent model ofJ.J. Johnson. Rather than play bebopacrobatics, Moncur played spare linescharacterised by his use of space. He stillplays that way... But it’s his compositionsthat make this album so rewarding.Except for the short free improvisation“Excursion,” they’re all from the 1960s,using strategies such as changing time signatures or multiple themes that wereinnovative at the time, coupled withstriking, declamatory melodies. Theseperformances, arranged in brilliant, evenstartling fashion by Mark Masters, don’tlook back. The voicings, riffs and interludes devised by Masters, along withthe absence of a chordal instrument, give“Exploration” a sound that looks forward,as Moncur always does.

The arrangements are playedwith crackling intensity by this sterlingoctet, and the improvisations follow suit.Suffice it to say that every solo is impressive... Hearty congratulations aredue all around, to Moncur, to the sidemen, to Masters, to everyone involvedwith the project. “Exploration” is a great record.-- Marc Meyers, allaboutjazz.com

...It’s an impressive line-up that featurestenorist Billy Harper, Gary Bartz on altoand trumpeter Tim Hagans among thehorns, plus the excellent rhythm section of

Fortunately, arranger Mark Masters ofThe American Jazz Institute, the manresponsible for last year’s fine collaborationwith Lee Konitz, “One Day With Lee,”has grabbed Moncur out of the arms ofobscurity and created an album that ispart homage and part triumphant return.“Exploration” finds Moncur in the contextof an octet that sheds new light on some ofhis best material, culled from his BlueNote sessions as well as his ‘69 recording“New Africa.” The largest ensemble everto record Moncur’s ambitious-yet-accessiblematerial with Moncur’s involvement,Masters’ arrangements bring out a richnessthat could heretofore only be imagined.

...Masters’ arrangements and thewelcome return of Moncur’s unique soundbring a new perspective to Moncur’sdecades-old material, giving them a lifeand relevance...-- John Kelman, allaboutjazz.com

What the reviewers have to say about ...

“Exploration”

“One Day with Lee”

2 new benefits for AJI members

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Ray Drummond and Andrew Cyrille.Masters’ empathy with Moncur’s breezy,bluesy writing is obvious, and the use ofFrench Horn (John Clark, naturally) andbaritone (Gary Smulyan) allows for vibrant,broad strokes of color. Occasional Monk-ishtwists or boppish ensemble lines alternate withpushy riffing or graceful parallel harmonies...

But what of the leader? The glories of Moncur’s ‘60s output saw himvenerated...as the most vital trombonist inthe emergent avant garde. Even then,Moncur was principally a melodic playerinspired by J.J. Johnson and steeped inbop language, and that influence stillshines through. Economical, funky andlyrical all at once, Moncur doesn’t waste a note throughout.

All in all, this is a fine record.Bristling with intelligence, good humorand swing, Moncur’s music stands the testof time... Nice to see him back.-- Peter Marsh, BBC

Mark Masters of The American JazzInstitute arranged these tunes and conductsthe octet... He proves himself yet again --as he did on “One Day With Lee” and“The Clifford Brown Project” -- a masterenabler/interpreter. He captures theessence of the musicians in the middle of his projects, with, in this case, arrangements full of coiled intensity andsharp angles and gleaming edges...

Moncur’s songs are quirky in aMonk-ish sense, counterpointing harmonyversus discord, restraint versus freedom,and the set is packed with searing solosalongside very measured and deliberateturns. “Exploration” makes up a consistently surprising set of sounds...

Grachan Moncur III has been outof the limelight for decades... “Exploration”is a fine and fitting welcome back.-- Dan McClenaghan, allaboutjazz.com

Following the Grachan Moncur III concert on February 26, AJImembers are invited to get acquainted with Moncur, his band andMark Masters at our first meet-the-musicians reception. The CMCcampus location will be announced at the concert.

As an incentive to join AJI or renew your annual member-ship at the Patron or Artistry Circle levels, we have a very appealingbonus: your choice of AJI’s newest CDs. See our membership page.

Your continuing support of our concerts and educationalefforts is important, tax deductible and very much appreciated.

...composer/arranger Mark Masters hasprovided a treasure trove of old and newKonitz called “One Day with Lee” featuringa prominent supporting cast that includesGary Foster, Bill Perkins and Jack Montrosein the sax section of an all-star MarkMasters Ensemble.

Masters’ CD is a fascinating concept: Konitz contributes new solos overorchestrated versions of his old solos goingback to the early ‘50s. Konitz’s unaccom-panied alto solo on “All the Things YouAre” leads to the 14-piece band playingthe altoist’s old “Thingin’” ...For “317East 32nd Street,” Masters orchestrates a1953 line, and after the altoman solos --before and after Masters’ additions --Foster and Konitz exchange fours. And sothe inspiired concept goes throuhghout thealbum, along with solo bon-bons fromtrombonist Bob Enevoldsen, bassist PutterSmith, pianist Cecilia Coleman, trombonistLes Benedict and trumpeter Ron Stout.-- Jazz Times

September: Bob Curnow’s L.A. Big BandComposer, arranger and educator Bob Curnow made the tripfrom the Pacific Northwest for a special evening in the MarianMinor Cook Athenaeum. Curnow’s big band, made up of veteranLos Angeles musicians (including Danny House, Don Shelton,Jerry Pinter, Steve Huffsteter, Dave Woodley, Les Benedict,Randy Drake, Dean Taba and Cecilia Coleman) performed a richprogram of Curnow compositions and arrangements.

Several Pat Metheny compositions arranged by Curnowincluded It’s Just Talk, Another Life and If I Could. His arrangement of the Shorty Rogers line, Just a Few, breathed newlife into the Rogers composition. Highlights of the eveningincluded the moving Danny House feature If I Could and SteveHuffsteter’s improvisations on Curnow’s Keystone Shuffle. Bob’scomposition Spencer’s Here brought a joyfulness to the capacityaudience, while his arrangement of the complex and movingRiverdance has become a modern classic.

October: The Ted Brown Quintet

Memorable moments of the Fall ‘04 concert season at CMC

Renowned tenor saxophonist Ted Brown made the trip from the East Coast for an acousticevening of improvised music at Pickford Auditorium, joined by West Coasters Gary Foster(alto saxophone), Putter Smith (bass), Larry Koonse (guitar) and Kendall Kay (drums).

Best known for his association with Lennie Tristano, Lee Konitz and WarneMarsh, Ted Brown’s career encompassed those influences and much more. All that wasbrought to bear in a performance that was nothing less than stunning. Using his owncompositions as well as those by Tristano and Konitz in addition to Great AmericanSongbook standards, the quintet was “on” from the downbeat! Foster and Brown were twovoices perfectly matched and the rhythm section supported, soloed and interacted with theutmost in taste. Highlights were Brown’s songs, Dig It, Smog Eyes and Featherbed.

Ted BrownandGary Foster

Steve Huffsteter

Bob Curnow conductshis L.A. Big Band.

Saxes, L to R: JerryPinter, Brian Sanders

and Don Shelton.

Ted Brown,Gary Foster,

Putter Smith,Larry Koonse

andKendall Kay

Our thanks to Ron Teeples and TerryLewis for the photos in this issue.Designed and edited by Scott Evans.

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Ted Brown

The Singers Unlimited, L to R: Bonnie Herman,Gene Puerling, Len Dresslar and Don Shelton.Photo from the album cover of their 1979release, “A Capella III.”

Bob Curnow

The vocal group known as The Singers Unlimited will reunite at ClaremontMcKenna College in February for a two-day oral history hosted by notedauthor and lyricist Gene Lees. This will be the definitive retrospective of theirdecade-long run as the premier vocal group ever. The Singers Unlimitedrecorded 15 albums during the decade of the 1970s.

Renowned for their groundbreaking technique of using multitrackrecording to broaden their sound and create harmonically dense voicings,the four voices were capable of creating vocal magic. While the voices createdthe sound, Gene Puerling was the architect of the sound, creating brilliantarrangements for the singers to bring to life. Often refered to as a genius inhis field, Puerling’s great gift was knowing when and where to use andchange timbres that were so much the hallmark of this magnificent group.

The Singers Unlimited started out singing commercial jingles inChicago. A recording they self-produced eventually ended up in the hands ofpianist Oscar Peterson, who in turn gave the recording to Hans Georg Brunner-Schwer at MPS Records in Germany, and a long and fruitful relationshipensued. Almost a quarter century after their last recording, the group thatGene Lees called “the greatest vocal group ever” remains the epitome of bothvocal performance and writing.

AJI’s Oral History Project adds Bob Curnowand Ted Brown interviews to the archives.Next: The Singers Unlimited

AJI’s approachto teaching jazz history ...and thelessons learned

One thing that students quickly learn to appreciate about the history of jazz is that “thereis a lot of it.” Obviously, in a one-semester survey course, a large number of decisions haveto be made about what topics will be included and emphasized in the curriculum. As new-to-jazz students begin reading jazz literature and reviewing multimedia collections thatpresent specific points of view on jazz history, students become aware of authors’ interests,biases, selection criteria and, most of all, attempts to influence the opinions and aesthetictastes of readers and listeners.

Our educational approach in History 109 at Claremont McKenna College is to erron the side of extensive breadth, encouraging students to sample broadly and search outartists and styles that appeal to their individual tastes. We de-emphasize and discourage thenotion that a select few jazz contributors are responsible for the whole course of jazz history,or that the vast majority of jazz artists are, somehow, imitators.

Below are a couple of student quotes that demonstrate the personal rewards thatstudents gain from maintaining an open mind, listening intently to anything that they areexposed to for the first time, and exercising their personal right to assert critical thinking.

One of the fundamental things that I took away from this semester was that if nothing else, thegreat diversity, spontaneity and directions that the music took thoughout history added to itsmagnificence. The art form may have been thematic, but it was definitely not uniform. ...I donot care for much of the free-form and avant-garde jazz that I listened to, yet I appreciate thedesire to try something new. The styles may have failed by many people’s standards, but artiststaking risks was a paramount component to the diversification of jazz in its history.

-- Dan Gottesfeld

I attended the Gene Lees and Roger Kellaway trio concert with violinist Yue Deng. ...The experiencegot me thinking about the nature of jazz and its ability to incorporate all instruments in its practice.It is truly amazing that jazz is able to support an incredibly diverse array of instruments. ...allinstruments are held in high esteem in the jazz world and the artist is the one that is measuredwith his playing.

The Henry Grimes concert was a unique experience through and through. It was thefirst time that I was able to hear truly ‘out’ playing in a first-hand experience. ...what struck meabout the playing…was that although the style was very ‘out,’ there seemed to be a great deal ofboth virtuosity and reason in the playing…the musicians maintained a connection...each artistseemed to be feeding on others’ melodies. -- Sameer Bajaj

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John LaPortaApril 1, 1920 - May 12, 2004

John LaPorta -- saxophonist, clarinetist, composer and educator -- at Berklee in the mid ‘60s.

Photo courtesy of Berklee College of Music

John LaPorta was one of the great unsung heroes of the music.

In his musical life, he experienced the big band era with the Buddy Williams, Bob Chester andWoody Herman orchestras. John was a member ofWoody Herman’s band at the peak of its popularity, the band that all of Woody’s subsequent bands would be compared to -- the First Herd. After leavingHerman’s band, John settled in to study with LennieTristano. A musical period of John’s life that could bedescribed as tumultuous! John was not a personality to be subserviant!

Performing with Tristano, Lee Konitz, WarneMarsh, Charlie Parker, Lester Young, Charles Mingus,Miles Davis, Dizzy Gillespie, Max Roach, OscarPettiford, Buddy Rich and Fats Navarro, among others,gives one the idea that John’s musical prowess was formidable. John was at the crossroads of so manyimportant events that he can only be viewed as a majorvoice in the history of jazz, although this becomes secondary to his career in education.

John earned his Masters Degree in MusicEducation at the Manhattan School of Music and went on to teach composition and improvisation at the Berklee College of Music in Boston for 35 years.He was a member of the National Stage Band Campsfaculty for 25 years, an instructor at the Stan KentonMusic Camps for many years, a founding member ofthe International Association of Jazz Educators, and theauthor of 15 music education textbooks. The numberof musicians that John influenced while in education is staggering. It is in education that John LaPorta will leave the biggest impression.

It was our great honor to have had John atClaremont McKenna College in the Spring of 2001 for a concert of his music. We are humbled that John chose The American Jazz Institute as the repository of his work. A lifetime of music and educational materials will be preserved for future generations of musicians to use and study.

-- Mark Masters

Mark Masters writes for All About JazzThe following article was written by Mark for the All About Jazz website in October 2004.

We would like to share it with you.

Back in 1999, The American Jazz Institute embarked on ajourney that has somehow lasted and continues to thrive at asmall private college located in Southern California. The jazzprogram at Claremont McKenna College has three components.The first of which is a series of concerts that brings prominentjazz artists to the campus. Second, these artists -- while theyare on campus -- sit with students (and me) to participate inour oral history program which documents their life story andis housed in the research library on campus. And last but notleast, the artists spend time with the jazz history class andengage students during a question-and-answer session.

The most remarkable thing to come out of this is thefact that there is now another performance venue for jazzmusicians in Southern California and since the concerts arefree we are able to program music which would often timesnot otherwise be available to the public. One of my personalgoals, with regard to the program at Claremont, is to continueto seek out and program music and musicians that deserve tobe heard regardless of how they say it. Our programmingreflects a philosophy that some degree of repertory is necessaryand desirable, but we should not lose sight of the fact that itis the individual -- the singular voice -- which makes thewhole experience meaningful.

Over the last several years, we have conceived recordingprojects that bring these singular voices together with neworchestral treatments of their compositional contributions.The Jimmy Knepper Songbook (Focus) featured Knepper himselfin a large ensemble playing new orchestrations of his music.Priestess (Capri) is a showcase for Billy Harper and his musicand One Day With Lee (also on Capri) has Konitz blowing onhis tunes -- and tunes associated with him -- along with a 14-piece ensemble. A similar project that sheds new light on ajazz master is The Clifford Brown Project (Capri), which wasrecorded in 2002. While Brownie is an icon of the trumpet

and his music obviously is widely recorded, our belief was that the ideal recording to honor his gifts was still in the making. We brought together Tim Hagans (trumpet), GarySmulyan (baritone sax), Joe LaBarbera (drums) and JackMontrose (sax) as featured soloists and a trumpet quartet topay homage to the brilliant compositions that were Brownie’ssolos. While assigning the featured roll to Hagans, who mindyou is not a Brownie clone, we used the music as a springboardfor something new, something unexpected.

A significant problem that musicians face is the difficultyof staying current in the public’s (as well as the jazz journalist’s)eye. Without tangible recorded proof of what a musician iscurrently playing he can drift from the limelight. One suchmusician is trombonist and composer Grachan Moncur III.Over the past two decades, Grachan has been teaching as wellas doing some playing, though he has not had a record tospeak of in many, many years. However, as a player -- andespecially composer -- Grachan is a singular voice. Thanksrecently to Mosaic Records, his two long-out-of-print BlueNote recordings (Evolution and Some Other Stuff), as well ashis classic ‘60s recordings with Jackie McLean, have been reissued on CD (his French recordings on BYG also havethankfully become currently available). It occurred to us thatGrachan’s music deserved to be heard in an orchestral context.He and I spent some time together on the phone during thepast year and the result is Exploration: The Grachan MoncurIII Octet. With his input I wrote orchestrations on seven ofhis tunes and while his music is both inside and out, it provedto be a timeless framework for the individual’s improvisations.

We are in debt to these artists. To Konitz for hiscourage to have a sound all his own. To Knepper for havingbeen one of the most identifiable trombonists in jazz. And forGrachan, for being himself these past 40 years and enduring.We’ve been touched by these direct descendents of the music.They’ve left us a gift.

Honor thy fathers.

Mark Masters is an inventive and prolific composer/arrangerfrom Southern California. He organized his first ensemble in theearly ‘80s, and since the late ‘90s has been a guest lecturer atClaremont McKenna College in California, where he has beeninvolved with their History of Jazz class, overseeing the oral historyproject and has produced and written for the ongoing series ofconcerts that has brought such notable artists as Sam Rivers,Mark Turner, Lee Konitz, Ray Drummond, Steve Kuhn, PeterErskine, John La Porta and Henry Grimes to the college.

Honor Thy Fathers

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“We are in debt to theseartists. To Konitz for hiscourage to have a sound allhis own. To Knepper for having been one of the mostidentifiable trombonists injazz. And for Grachan, forbeing himself these past 40 years and enduring...They’ve left us a gift.”

AmJazzInTM

The American Jazz InstitutePO Box 5716

Pasadena, CA 91117

DATED MATERIALADDRESS CORRECTIONREQUESTED

Grachan Moncur IIIEvolution Big BandThe preeminent “free jazz”trombonist of the ‘60s in a performance of his uniquecompositions. Featuring TimHagans and Peter Erskine.

Saturday February 26,8:00pm

NEW RELEASE!Exploration

Grachan Moncur III Octet

NEW RELEASE!Porgy & Bess...Redefined!

The Mark Masters Ensemble

BECOME AN AJI MEMBERand take your choice of

4 critically acclaimed CDs from AJI and Capri Records!

See page 6

An Evening withDewey Redman“Our greatest living saxophonist,” saysDownBeat magazine.Redman appears with astandout septet featuringtrumpeter Tim Hagans.

Thursday, March 3, 6:45pm © 2004 The American Jazz Institute

AJI goes to college:Spring 2005 concert series at Claremont McKenna College

For directions, see page 2

Andrew Cyrille Plays Monk“A consumate modern drummer,”says the NY Times. Cyrille and hisstellar octet perform the music ofThelonious Monk.

Monday, April 4, 6:45pm